Seeing the negative requires no effort; seeing the everyday things that are wonderful (but too familiar to appreciate) is a bit harder.

Matthew Baer

Seeing the negative requires no effort; seeing the everyday things that are wonderful (but too familiar to appreciate) is a bit harder.

While there are plenty of issues in Stockton, consider for a moment that we are home to one of the finest symphonic orchestras you'll ever hear. The fact that it is still alive and well in the current dismal economic climate is definitely something to be thankful for.

Thursday night's concert was exemplary of the Stockton Symphony's unyielding drive for excellence. Dubbed a "Brubeck Mini-Festival," it featured the world premiere of Chris Brubeck's "Adventure for Jazz Quintet and Orchestra," his Prague Concerto, and Igor Stravinsky's "Petrushka." This juxtaposition of pieces is very much intentional; there are numerous rhythmic and harmonic parallels between these three works.

Brubeck's "Adventure" is aptly named. Despite the absence of a specific narrative, there is definitely some sort of journey taking place within this brief but exciting composition. The sheer exuberance of this work demands the listener's attention; you simply can't listen to it passively.

The quintet performing with the Stockton Symphony is comprised of the five young students who were chosen as this year's Brubeck Institute fellows. These remarkably talented musicians ripped through the "Adventure" with precision and vigor. While much of the melodic material being given to the tenor and alto saxophone (including an exquisite cadenza for both instruments), the rhythm section held its own without overpowering the orchestra. Brubeck also included some improvisatory passages within the work thereby ensuring that it will never be performed exactly the same way twice.

Brubeck's almost compulsive use of irregular time signatures certainly lends an element of excitement and unpredictability to his compositions. "Adventure" begins with a deceptive little march that suddenly lurches sideways into an infectious groove that makes you want to tap your foot until you realize that you can't do so without really paying attention ... which perhaps is the point.

The range of the bass trombone's expressive properties is explored extensively in the Prague Concerto. From the brash opening of the first movement to the lyrical languor of the second to the violent, comical near-cacophony of the third (including even more irregular and fluctuating meters), Brubeck delivers and demonstrates everything you ever wanted to know about the bass trombone but were afraid to ask. His use of an antiphonal trio (flute, French horn and bassoon) in the second movement is also quite effective.

Whether or not you are familiar with this staple of 20th century repertoire, you won't want to miss "Petrushka."

Much like the movie "Toy Story," this evocative piece of program music imagines the secret lives of inanimate objects - in this case, the puppets of a street performer at a fair - when humans are not present. Unlike "Toy Story," the story of Petrushka contains existential questions, unrequited love, and (spoiler alert!) puppet homicide; don't expect a Pixar adaptation any time soon.

When you attend Saturday night's concert, check any preconceived notions about what "classical music" is at the door; nothing remotely resembling Pachelbel's Canon in D will be performed. This is exciting, captivating music - and it's happening right here in Stockton.

Contact freelancer Matthew Baer at features@recordnet.com.

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